Michael Fremer  |  May 01, 2005  |  0 comments

Even if you generally find Jones's voice too nasal, too cat-like, too small, too thin, too whiney and especially too nasal, her cool, slinky and smartly laid-back vibe on this impeccably arranged and played double LP set will surely win you over.

Michael Fremer  |  May 01, 2005  |  0 comments

The big band era was over and Duke Ellington was past his most creative years by the time this set was recorded, but the year was 1960 and no doubt the art of recording was reaching a pinnacle. If you have any doubts, check out this Classic reissue cut from the three track original.

Michael Fremer  |  May 01, 2005  |  0 comments

I've seen literally hundreds of copies of this 1959 Weavers release, but until this reissue, I've never seen a stereo copy. Didn't even know it existed in a black label “Stereolab” edition.

 |  May 01, 2005  |  0 comments

First issued on Premonition CD in 1994 and later on limited edition LP (licensed by Music Direct, which now owns the Mobile Fidelity name) with three tracks deleted due to space limitations, and then on Mo-Fi SACD, Café Blue now gets the 3 LP 45rpm treatment, _ speed mastered by Paul Stubblebine using Mobile Fidelity's Gain 2 Ultra Analog System™.

Michael Fremer  |  May 01, 2005  |  0 comments

If Travelling On With The Weavers is the original “Kumbaya Moment,” this live album recorded in 1962 is the “Kumbaya Follow Up Moment.” The first live concert I every attended was Joan Baez at Town Hall in New York City in 1962 or 3. I was in high school but until that night, had never seen unshaven legs and armpits. I mean on girls. I'd never seen moustaches before, either and again I mean on girls. But there they were! Loitering in the balcony foyer. I can still smell the Patchouli oil and what lurked just beyond. Maybe I was just imagining that.

Michael Fremer  |  May 01, 2005  |  0 comments

"Keep Your Jesus Out of My Face,” is a bumper sticker I'm contemplating having printed so I can stick it on my car's rear end, and tell people who are offended where they can stick it. That's just how I feel about religion, and Jesus, and Yahweh, and Zeus and Poseidon, and Mary, and the rest of the endless myths that hobble and delude mankind into thinking the latest iteration is the truth, the way, the best, my way, or the highway, or whatever. More evil has been committed in the name of religion than any other institution invented by mankind and nothing you're going to tell me is going to turn me around.

Michael Fremer  |  Apr 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

(This Interview originally appeared in Volume 1, issues 5/6 of The Tracking Angle, published in the winter of 1995/96)

Ever hear an LP copy of Maurice Jarré's soundtrack to "Dr. Zhivago"? It was released by MGM during the label's "Sounds Great In Stereo" era. They'd put that statement on the record jacket whether or not what was inside was really recorded in stereo. "It would sound great if it had been recorded in stereo, but unfortunately, it wasn't, " is what MGM meant to put on the cover, I'm sure, but they probably didn't have room.

Michael Fremer  |  Apr 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

M.F.: I remember when we were working on "Tron" we were in London in the Royal Albert Hall, we had about 108 pieces waiting, and the guy's sitting up at the organ waiting, while a fight broke out between Wendy Carlos and her associate on one side, and a guy named John Mosley who we'd hired to supervise the recording sessions. And there was a copy of the score being pulled back and forth till it just about ripped in half, so that was a swell time.

S.M.:All about how it was gonna be done?

M.F.:How it was gonna be miked, and.....

S.M.:Yeah, you see that's not the time to have the discussion.

Robert J. Reina  |  Apr 30, 2005  |  First Published: Dec 31, 1969  |  1 comments

For those who want to collect all of Wilson's recorded work, and are willing to put in the effort, I thought I'd describe Wilson's other recordings not already mentioned.

Michael Fremer  |  Apr 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

Years before Burt Bacarach became "hip" once again, well before he had a part in an Austin Powers movie, or wrote songs with Elvis Costello and Ronald Isley, your editor interviewed him. Bacharach's insight into music writing, recording and performing are still fascinating.—MF

In 1970, Simon and Schuster published a book called " How to do Almost Everything" written by syndicated columnist Bert Bacharach. The title refers to a collection of helpful home hints, not son Burt's musical career, but it might as well have.